UCSC

To mark the opening of Carlos Motta: When Time Stands Still, a poetic and aesthetically rich exploration of the historical and aesthetic manifestations of difference and marginalization that inform current anti-immigration politics and climate injustices, we invite you to a seated performance from 5-6 pm by internationally renowned vocal artist and composer Samita Sinha. For the performance, an embodied response to Motta’s evocative artworks, Sinha will draw in her Indian vocal training to create a multivalent and experiential language of vibration, offering a challenge, both beautiful and expansive, to the perceptual frameworks that normalize oppression. Following the performance, from 6-8 pm, will be a celebration for the opening of Victor ‘Marka27’ Quiñonez: Ni de Aquí, Ni de Allá (Not From Here, Not From There), a multimedia exhibition with paintings, sculpture, and installation exploring issues of migration and belonging— and which gained national attention after it was abruptly censored by the University of North Texas. These opening events are free and open to the public. Samita Sinha‘s performances and compositions have been commissioned by Asia Society, Performance Space, Danspace, Rubin Museum, Lower Manhattan Cultural Council, Queens Museum, Gibney Dance, and Western Front, and presented by The Kitchen, Wexner Center for the Arts, REDCAT, PICA, National Sawdust and others. She has received awards from National Endowment for the Arts, Fulbright Foundation, National Performance Network, and New York State Council on the Arts.

Join us Friday October 2, 5-6 pm, for a performance by internationally renowned vocal artist and composer Samita Sinha followed by an opening celebration from 6-8 pm of our fall exhibitions: Carlos Motta: When Time Stands Still and Victor ‘Marka27’ Quiñonez: Ni de Aquí, Ni de Allá (Not From Here, Not From There), with the artists in attendance. 5-6pm Performance Samita Sinha will draw on her Indian vocal training to respond to new and recent artworks by Colombian-born artist Carlos Motta on view in When Time Stands Still, including a video in which the vocalist is featured. This and other works, including sculpture, installation, and endurance-based performance video, poetically—and powerfully— manifest the historical and aesthetic productions of difference and marginalization that inform current anti-immigration politics and climate injustices. Performing within the exhibition, Sinha will offer an embodied response through the multivalent and experiential language of vibration. 6-8pm Celebration Following the performance will be a celebration for the opening of Victor ‘Marka27’ Quiñonez: Ni de Aquí, Ni de Allá (Not From Here, Not From There), a multimedia exhibition with paintings, sculpture, and installation exploring issues of migration and belonging— and which gained national attention after it was abruptly censored by the University of North Texas. These opening events are free and open to the public. Samita Sinha‘s performances and compositions have been commissioned by Asia Society, Performance Space, Danspace, Rubin Museum, Lower Manhattan Cultural Council, Queens Museum, Gibney Dance, and Western Front, and presented by The Kitchen, Wexner Center for the Arts, REDCAT, PICA, National Sawdust and others. She has received awards from National Endowment for the Arts, Fulbright Foundation, National Performance Network, and New York State Council on the Arts. Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social condit

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Enjoy a screening of the video-performance Under the Mantle of an Idocile Dream (Bruna Castro, Brasil, 2026), followed by a conversation between Denise Carrascosa and Gina Dent around the historical, political and spiritual relations between Afro-Brazilian ancestrality, visual arts and abolition feminism in Brazil. Denise Carrascosa is a writer, lawyer, and full professor of literature at the Federal University of Bahia, in Brasil. Gina Dent (Ph.D., English & Comparative Literature, Columbia University) is Professor of Humanities and Faculty Director of the Institute of the Arts & Sciences at the University of California, Santa Cruz.

Join us for a screening of the video-performance Under the Mantle of an Idocile Dream (Bruna Castro, Brasil, 2026), followed by a conversation between Denise Carrascosa and Gina Dent around the historical, political and spiritual relations between Afro-Brazilian ancestrality, visual arts and abolition feminism in Brazil.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

A part of Denise Carrascosa’s October residency with Visualizing Abolition, Aparecida will read from and discuss her poetry chapbooks Macala (2022) and Aziri (2026). The works are inspired by nineteenth-century photographs of Black women taken in Brazil, shaped by the historical contexts of slavery and scientific racism. The research explores how poetry and fiction can reinscribe these images beyond the colonial gaze that originally produced them. Once confined within systems of economic exploitation and the aesthetic contemplation of whiteness, these women are now reimagined through a poetic practice in which poetry and photography converge as a feminist and abolitionist mode of critically engaging the archive. Following the wake, the work seeks to transform documents of violence into new aesthetic forms of freedom.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

A winter holiday celebration of Irish Music, Dance, Song, and Storytelling. A Celtic Christmas is now in it's 31st year touring nationally!

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.

Carlos Motta’s When Time Stands Still features new and recent installations, videos, and sculptures highlighting the artist’s preoccupation with the historical and aesthetic productions of difference and marginalization that shape the present. The selection of artworks in the exhibition explore the unsettling experience of living in a time that seems violently stuck on repeat. Archetypal figures from art history (a fool, a siren, a witness, a victim) reappear in the current moment as containers of time, bringing the past of imperialism, colonization, and displacement into a present marked by the rise of anti-immigration politics, climate injustice, and other forms of disposability. Some works challenge this violent repetition of time. The clock moves, if gruelingly, in an endurance-based video performance, No One, 2025. For forty-six minutes, the artist undertakes to keep his eyes open, witnessing, withstanding, confronting, and resisting the bombardment of images, both historical and otherwise, that normalize harm. In another video work, Gravity, 2024, performers enact rescue carries, supporting each other until they can’t bear the weight. Together, the artworks act as a proposal about how to rethink time—how to slow time—with a poetic and aesthetic cadence that might counter the numbing reverberations of living in the present. When Time Stands Still is organized as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to create a future free of prisons. About the Artist Carlos Motta (b. 1978, Colombia) is a multidisciplinary artist whose practice documents the social conditions and political struggles of sexual, gender, and ethnic communities, challenging normative discourses through acts of self-representation. His work has been the focus of several survey exhibitions.

“Ni de aquí, ni de allá” (“neither from here, nor there”), is a phrase commonly used by bilingual, bicultural communities. In the exhibition the phrase becomes a bold declaration of dual belonging against a violent notion of nationalism and identity. Through paintings, immersive installations, sculptural works, and a curated soundscape, Marka27 invites gallery goers into a vibrant, layered world where street culture meets Indigenous tradition, and personal memory collides with collective truth and activism. Curated by internationally recognized curator Kate Fowle, this exhibition is organized in partnership with The Center for Art & Advocacy and as part of Visualizing Abolition, an arts-based initiative that reaches across prison borders to contribute to the unfolding collective story and alternative imagining underway to create a future free of prisons. ABOUT THE ARTIST: Victor “Marka27” Quiñonez is a renowned visual artist working at the intersections of contemporary art, graffiti, vinyl toys, fashion and design, and art activism.